Visual Elements Of Art Falls

In the second half of the twentieth century, artistic movements made pushes in order to move beyond the traditional gallery space, changing the terrain of displaying and making art. An artist’s body of work no longer needed to reside inside of a gallery or art collection, and artists became free to explore other ways of creating and displaying work. In this vein, Andy Goldsworthy works sculpturally with natural media, and leaves the sculptures within a particular environment, often expecting his work to decay quickly. Many times, the only evidence of any art he makes is the photographs taken during the process. By more traditional standards, art of this nature is entirely contradictory. What is the point of pieces of visual art that cannot

On a rainy Saturday morning, I decided to go to the San José Museum of Art and view Night Shadows in the Crossroads: American Scene Prints from Thomas Hart Benton to Grant Wood exhibit. When I initially glanced at the artifact online, the simplicity and suspense of it left me wondering as to what the deeper meaning of it was. As I opened the door of the exhibition, my nose instantly absorbed the smell of dog food. The dim lights set a

Though World War II was awful in every respect, and it led to the destruction of many priceless works of art, there are some examples of beauty emerging form the chaos. One such example come from the work Dean Keller. Keller was one of many “monuments men” who were given the daunting task of the preservation of art during the war. The monuments men had little resources yet they prevailed in their efforts of protecting much of the art at risk during the war. The thought that the allies had the forethought to take earnest efforts to respect the history and culture that comes from these great European works of art, is a glimpse of the beauty that emerged during this time of turmoil. At the end of the war, Dean Keller led the Americans in returning the art they had gathered for protection. This was received by great crowds of emotional Florentine’s grateful for the return of their stolen history. This scene of compassion and gratitude

In “Ways of Seeing”, John Berger, an English art critic, argues that images are important for the present-day by saying, “No other kind of relic or text from the past can offer such direct testimony about the world which surrounded other people at other times. In this respect images are more precise and richer literature” (10). John Berger allowed others to see the true meaning behind certain art pieces in “Ways of Seeing”. Images and art show what people experienced in the past allowing others to see for themselves rather than be told how an event occurred. There are two images that represent the above claim, Arnold Eagle and David Robbins’ photo of a little boy in New York City, and Dorothea Lange’s image of a migratory family from Texas; both were taken during the Great Depression.

It is said that a picture is worth a thousand words, but maybe they are worth far more than that. Pictures, although seemingly simple in nature, are extremely complex. Far too often, people overlook what a picture truly is. When a person looks at an image, they most likely see only the image, nothing else. Many people do not look deep enough into an image to fully comprehend the true meaning of it. However, when an individual begins to truly study an image in an attempt to understand the true complexity of it, they will be surprised at what they overlooked before. As stated by French Realist Painter, Gustave Courbet, “Fine art is knowledge made visible.”

There is an ongoing art-ownership debate over paintings and other art stolen from European Jews during the Holocaust of World War II (1939-45). As Jews were sent to concentration camps, Nazi German soldiers looted valuable art from their homes. During the ensuing decades, some of that art landed in major museums on display, prompting Holocaust survivors and the families of Holocaust victims to ask that those works be returned to them.

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

Late on Wednesday night, my phone ringed. It was a text message from my friend Pedro, “Do you want to visit an art museum tomorrow”. Knowing I needed to go, I texted him back quickly, “pick me up after your class tomorrow and we can adventure to The Weatherspoon Art Museum at The University of North Carolina at Greensboro”. After Pedro’s class, we explored the museum observing multiple art works, and I was invoked by three, art pieces. All three were different and intriguing in their own way. For instance, the painting that is on top of the cover page with all the wavy hair was painted by Catherine Murphy and is known as the “Frosted”. This painting was very delightful because of its unique elements. Second, the sculpture in the middle of the cover page is an image of a wooded animal. This sculpture was crafted by Deborah Butterfield and is recognized as Lunalilo. Also, at the bottom of the cover page is a sculpture constructed by Dan Graham, the sculpture was known as Triangle Solid with

Moreover, other pieces show the lives and struggles black people have endured since their freedom in the 1960s. Stevens, Ellis, and various students’ art depict the reality of black history in a time when much of black history has been forgotten or altered . The pieces show

In spite of this, a few photos with high detail, Henry McArdle’s The Battle of San Jacinto and Private Gustavus Sohon’s Crossing the Hellgate, were reduced to a size that didn’t properly support the authors’ written investigation of the artwork. In addition, certain photos were excluded from the book; Fanny Palmer’s illustration Across the Continent, though described, is nowhere to be seen for instance. It is frustrating to read about an artwork with no representation of it; it is further aggravating to discover that the designer of the book placed photos pages away from the writing in an inconsistent way throughout the

My paintings give material form to the human tendencies to compartimentalize, and desegregate, both nature and our built environments. In each two-dimensional work, I start with an impression ---a feeling, a memory, a childhood friend, a family member, or a location---and build the forms using patches of color, showing my own habit of separating parts of the world around me into smaller, consumable parts. For example, in L.A. Bus Routes, I utilized my frustration with the pervading image of Los Angeles’s car-riding culture by making a largely unspoken bus-riding culture take center stage. I drew lines with colored pencil representing the L.A.’s city blocks defined by bus routes surrounding my East Hollywood home. Fluidly, colors bled into others where watercolored shapes met, representing the permeable borders of neighborhoods in L.A. My work questions the fabric of social dissonances using a patchwork of watercolor, gouache and pencil marks that suggest a human need to compartmentalize aspects of our surroundings, our selves, and

It is in that way which the non practical human event of a painting may draw attention to the human observer, there truth may be revealed and through truth of the unique feeling of the sublime in accordance to Schopenhauer, wherein the pleasure is gained from beholding the violent object and its immeasurable nature. 61Through this it is argued the art will not be disenfranchised by the structure and it gains the capacity for change.  This is what Merleau-Ponty calls a “brute fabric of meaning” 62wherein the painter takes upon the raw fabric of the world when he renders their experience in a painting. Then the completed painting is quite literally a brute fabric that the viewer draws upon in his interpretation of what is rendered. The revelation

Art history: a useless pondering over sketches that have little significance to life, at least this is the notion held by many. Delving into art history is a slippery slope that requires more than any one person knows. James F. Cooper and Alan Wallach explore the considerations art historians go through to decipher the relevancy of artworks. However, James F. Cooper’s arguments retro and one-track minded, while Alan Wallach’s arguments on which artworks to pick apart, the methods to attack them, and the reasons people spend so long analyzing a piece of paper are far more relevant to today’s emerging standards.

Two very prominent painters are photographed cut off from the work of art, seemingly stuck in a gray walled room with no artistic fervor anywhere to be seen. The photographs are bleak, but offer a sense of distance from the audience, enough to show these famous individuals as humans. Penn creates beauty through humanity, with or without the help of fashion his portraits convey truly an unhinged reality of fashion and art, unseen by the general public.

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.